Sometimes a film just does not hit you in that sweet spot the first time around. You leave the theater disappointed or mulling over what could have been. Maybe it was you all along, your mood, your unwillingness to open up and let the film work its magic. I’ve hated films that I later came to love and respect after my initial dismissal. There are those films that grow on you and seem to get better with multiple viewings. The first time I saw Frances Ha, I moaned about its obvious influences and reference points (Godard, Truffault). The protagonist’s personality was a bit grating and I just couldn’t give in to the film’s cloying repackaging of the classics of the 60’s and 70’s it so self-consciously aped. It simply felt derivative, the kind of film where its style devours its substance. I recently gave it a second chance and have subsequently modified my early misgivings. I think the elements of the film I enjoyed the most were the editing and the choice to convert the digital footage into black and white. It’s quite the looker. Now there are a lot of movies not worth a first viewing let alone a second but sometimes there comes a long a film that deserves a reconsideration.
Le Havre is a wonderful film that I missed seeing when it first showed at WMU’s Little Theater several years ago. Named for a provincial city on the northern, French coast, the film is one of Finnish director Aki Kaurismäki’s most warmhearted and charming. Known for his less is more approach to film making, his works tend to give birth to zany, working class characters whose expressions of both joy and futility come off as droll and darkly peculiar (fans of Wes Anderson and Jim Jarmusch will appreciate the brand of humor). Le Havre is a simple story: an elderly shoe shiner stumbles into a plot to hide a young, African boy from the authorities who seek his deportation. Ex “bohemian” Marcel Marx has a difficult enough time as it is in dealing with his critically ill wife. His newest project, one that he had not expected, is to safeguard with the help of his fellow townspeople, a young refuge named Idrissa, who is seeking to travel to London. With the authorities hot on his trail, Marcel keeps ahead of the fuzz with just enough assistance from Le Havre’s band of bartenders, rock musicians, and an unlikely detective. It’s a beautiful fantasy as much as it is a political fable about community and humanity.